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Formed after the end of the band Run Way, by three former members around 1979, the group Song Gol Moe ('The Falcons') released several records in the following decade, achieving local success until disbanding in 1991. Post here their debut, divided in 10 tracks that resemble the work presented in "Whal Ju Loh", short, straight and with a certain commercial approach, in spite of being faithful to classic rock, with moments of hard and also melodic prog. The lyrics are all in Korean, accompanied by the guitar and several choirs.

Trio formed by former members of the legendary Romanian band Phoenix in 1978, trying to achieve more success in the Western Europe. They settled in Germany, where their only LP was released and disbanded in 1980, without the expected result. The disc is divided into 10 short tracks of hard rock and, as said, with a more commercial and simple sound, typical of the time. The instrumental is straight, guided by intense passages of electric guitar, besides drums / bass competent; The lyrics are all in English. The production unfortunately disappoints.Although unoriginal, it's still interesting for fans of hard rock and Eastern European music.

This is most probably a lost gem of Spanish music from the 70's. And though not entirely Progressive in its core, it does have its interest for Spanish Prog Rock lovers.

The music is mainly 70's pop with a strong folk flavor and some more complex structures, therefore the Prog connection.

While the vocals are totally dated and almost entirely pop (exceptions are to be found, like in track 5), the instrumentation is crafted and thoughtful, gracing the listener with some very good musical moments.

Unlike bands such as Triana or Mezquita, the folk components here presented are not exclusively based on the South (Seville) gipsy orientations. The interest here is undoubtedly focused on the music underneath the completely naif vocals, but in that department, the album does have its (very good) moments.

Tilders’ debut solo album Dutch Tilders proved the man’s mastery of the blues form. One side featured Tilders playing Chicago electric blues with backing provided by members of Chain and the flip was just the man doing down-home Mississippi delta acoustic blues.

There are many fine moments across the man’s records but I particularly enjoy this self-titled debut. On the electric side you can tell it’s just a really relaxed session with Dutch and the guys from Chain doing what they know best. Nothing is overplayed (there are no searing blues-rock work-outs with screaming guitars) and Tilders’ vocal delivery is laconic yet spot-on. Phil Manning’s guitar work is always a joy to hear and while singer / songwriter Brian Cadd was enjoying his own successful solo career at the time, his boogie-woogie piano accompaniment is totally sympathetic to the cause and a real highlight.

Tilders matches his own composition ‘Chimney-Sweep Blues’ with covers of Arthur ‘Big Boy’ Crudup’s ‘That’s Alright Mama’, Jimmy Reed’s ‘Wee Wee Baby’ and Jimmie Cox’s ‘Nobody Knows You When You’re Down and Out’. Tilders’ affinity with the blues has never been fully examined to my knowledge; however he definitely knew his blues history.

On the acoustic side, the highlights include covers of ‘It Hurts Me Too’, ‘Kansas City Blues’, ‘In the Evening When the Sun Goes Down’ and Big Bill Broonzy’s ‘Southbound Train’ and ‘Keys to the Highway’. Aside from Tilders’ vocals and acoustic guitar (with a side order of slide) the only other musical accompaniment heard is Broderick Smith’s mouth organ on ‘Kansas City Blues’.

While most of the musical influences on Italian artists during the late 60's and early 70's came from English groups, there were quite a few artists who were strongly attracted to the West Coast sound. Come Le Foglie, like later groups such as Stradaperta, Madrugada or Grosso Autunno, were particularly influenced by an US-sounding style based on acoustic guitars and vocal harmonies.The trio has been formed in Milan around 1968, from the ashes of a rhythm and blues group, Formy Blues Band. Their early repertoire was full of covers by the likes of CSNY and Joni Mitchell, and the band had an intense live activity and a good following in the Milan area.At the turn of the seventies, the group began creating their own sound, often helped by guest musicians, but still keeping their initial West Coast feeling. They were invited at many important open-air festivals in the North of Italy, and had the chance of supporting some of the top Italian and foreign artists of the time. Of course many record companies were interested in signing them, and they recorded many demo tapes, but unfortunately their uncompromising behaviour caused them to lose any chance of a recording deal.The band split in the mid 70's, sadly little has survived of all those studio recordings that never found their way to an LP. A CD, including demo recordings from 1972 was released in 1998 by the Giallo label; it also includes a few live tracks, also from the same year, but having a worse quality, and this record can give an approximate idea of what this group sounded like.

The musical material presented on this second album came along with the first album, which means, all this songs were composed on the same period of time. So this songs were set apart for a while during the production and release of the first album, still with no lyrics, but already with some ideas settled. The three songs which make up the suíte "The Story of a King" that finished inspiring the title of the album, were already known to cover this theme.

As the lyrics of the songs were brought out, a conceptual album begun to emerge. Each of the songs of this album tells the story of a character, an individual drama. And each story of each song becomes a spiritual saga visited by the listener in the company of a storyteller. To get to this point, André Micheli had to slightly change the first version of the lyrics of the first song of the album "The Endless Road" that was previously called "The wanderer". On the final version the storyteller - which happens to be the band itself - invites the listener to a long journey watching the endless road travelers; learning, suffering, rejoicing along with the misadventures of life of each former character.

To finally frame the songs and lives lived through them, one last song was composed especially for this purpose. The beautiful ballad "Waiting Room" portrays a last drama of a last character, an internal madman in a sanatorium that receives a message and finds out that it was all an illusion. He is free to another journey on the endless road. The message also reveals to the listener that all lives observed were actually one.

Now we are proud to present to the public our second album. A ten track conceptual one, following the tradition of the good ages of prog rock. Not only good songs reunited, yet an epic work able to take the listener to a great playful and spiritual journey, telling stories, thrilling and making to think. And of course, we have rock. Good rock!

Group formed in Birmingham and that released two rare LPs, probably disbanding soon after. The drummer Alan Moore joined Judas Priest years later. I post here the last album, Chuffer, divided into 11 short tracks that bring a simple rock, containing slight doses of country and even prog, but sometimes with commercial attempt that ends up being a negative point. The sound is marked by several choirs, accompanied by good guitar and piano moments.

Formed in Munich in the early '70s, this group released only one LP, plus some singles at the beginning of the decade, in the line up there were two musicians who gained fame in pop music years later, Danny Mark and Fancy. It is a cover band of Creedence Clearwater Revival, following the same country, swamp and classic rock style, but with all lyrics in German. The instrumental is simple and faithful to the original group, led by guitar, as well as metals and piano.Interesting record for CCR fans in particular.

Duo from the Netherlands, that released only this album by Philips, with a recent CD edition and no further information. The self-titled album is composed of 10 short tracks (except for the cover of "Season Of The Witch"), bringing a fairly average rock sound at the time, influenced by the North American scene, with doses of psychedelia, country and even prog (with some synth passages). The instrumental is highlight, mixing acoustic and electric parts, but without so much ambition at certain times.

The group is made up of two members, the Macherey brothers, and it's Philippe who makes this album very interesting. He plays electric guitar, harmonium and Moog. The latter element in particular makes this one far more interesting to me. And the harmonium recalls Windy Corner at their best. Though the location of the recordings is in Paris, I would suspect the band is Alsatian. I say that because there is a distinct German quality at play here. There are sparse vocals in French, but they're sung more forcefully. As well, the brief narration sounded Germanic to me (though still in French). The downside of the album is a few tracks are simply Jean-Francois strumming his acoustic guitar. I could see doing that for one song tops, but with about 30-35% of the album like this, it begins to drag a bit.
Text: RateYourMusic

Obscure gem from Haiti, formed in the mid-70's and apparently only released this rare LP in 1978 in the USA. The album is divided into 8 songs that mix Latin and Caribbean rhythms (especially the local twoubadou and kompas), where we hear a electric guitar-based sound, that does a simple work, with a strong presence of percussion and brass, as well as spaced vocals and lyrics in French. As for the tracks, highlight for "Ti Machine", "Pour Qui" and "Valeur Musicien", although consistent.

Jiří Stivín is a true renaissance man. Widely involved as a classical musician in especially early and Baroque music circles, the flutist and composer is also one of the most highly regarded jazzmen of the Czech Republic. On System Tandem, he joins guitarist Rudolf Dašek, a partner in crime since 1971. System Tandem came on the heels of a collaboration with bassist Barre Phillips, and the latter’s balance of form and spontaneity is certainly in the air. Dašek, who passed away in 2013 at the age of 79, was another stalwart of the Czech jazz scene known for crossing the genre divide.

For its second album, System Tandem focuses the integrity of the music. Stivín pens the first cut and arranges the second. “Puddle On The Muddle” shows off the duo’s sense of light and shadow in a steely combination of registers. The lively interplay and ping-ponging of ideas allows Stivín to veer down wilder paths of squealing abandon in a robust opening gambit. The Moravian folk song that follows, “Forman Going Down The Valley” is the first of a few pairings of flute and guitar. The theme here is mountainous, painterly, and segues into the album’s remainder, all of which bears Dašek’s stamp. “Hey, Man (Let’s Play Something About Spain)” is the first standout and deepens the fluted streams of its predecessor. He speaks in tongues, becoming more vocal by the moment, for stretches abandoning the flute altogether. “What’s Your Story” mark’s the flute’s last appearance in a forlorn piece of restrained melodic shape. Stivín breaks out the soprano for “Shepherd Song,” evoking a dance party of undomesticated wildlife. This leaves us with the album’s pièce de résistance, “Puzzle Game.” For this marvelous foray into Baroque territory, Stivín plays a dizzying recorder against an enervating Django Reinhardt rhythm. Dašek’s finger picking works wonders in the final stretch.

Formed in 1970, the group Buffalo (do not confuse with the Australian band of the same name) had several line-up changes, among them some former members of the Delta Blues Band. They released three LPs in the second half of the 70's. Here is a recent compilation of 13 tracks from the band, short and following the country and blues rock style, heavily influenced by North American names. The instrumental is simple, led by the guitar, with good passages of harmonica, piano, and acoustic moments.

First solo album by musician and composer Rob Galbraith, who would join the group Jubal, and participate and produced several other LPs before releasing his second and final album in 1976. Here we listen 11 short country rock tracks, mixing traditional-style melodies and good doses of blues, funk and groove, although it remains mostly acoustic. The instrumental is highlight, with well mixed passages of acoustic guitar, harmonica, percussion and piano. Worth a listen for fans of country and American blues, recommended.

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